The purpose of this study was to investigate the relationships between the hairstyle behavior, hairstyle image preference and life satisfaction of women in their 20s, 30s, and 40s, and to examine the differences of the hairstyle behavior, hairstyle image preference, and preferred hairstyle according to demographic variables. The research method was a survey method using a questionnaire. Total of 674 women in their 20s, 30s, and 40s were tested, 309 of whom residing in the Seoul metropolitan area, with the remaining 365 residing in Gangweon-Do. Life satisfaction factors such as socio-economic satisfaction, happiness, and physical satisfaction significantly influenced the women`s hairstyle behavior. The women with higher level of physical satisfaction had higher level of conformity, individuality, fashion, and interpersonal orientation of hairstyle. It also showed that the higher the level of socio-economic satisfaction meant greater preference for graceful hairstyle images. As well as the level of happiness correlated with the preference for feminine and sophisticated hairstyle images. The women who preferred long layered wave hairstyles liked feminine, natural, and sophisticated hairstyle images. The women in their late 40s had higher interpersonal orientation of hairstyle than those in their early 20s and 30s. Overall, a natural hairstyle image was favored the most, whereas a unique image was favored the least.

This study examines history of Korean peony patterns and characteristics of peony patterns on the fabric. It is classified according to expression methods, and it analyzes the characteristics of 71 kinds of peony woven on 66 Korean fabrics. First, it was observed that 38 of the 66 studied fabrics (57.6%) were relics from the 17th century, and from this it can be deduced that the peony patterns began to appear regularly around the latter half of the 16th century and were used habitually in the 17th century. Second, 71 kinds on 66 fabrics can be divided into Real Type, Design Type, and Abstraction Type according to expression methods. Among these types, 49 kinds of them are Real Types (69.0%), forming the greatest part and 19 kinds belonging to the Design Type (26.8%), and lastly, 3 kinds were under the Abstraction Type (4.2%). In particular, peony patterns of Design Types and Abstraction Types from the 17th century and from the 19th century to the 20th century were more prevalent, compared with those before the 16th century or the 18th century. Third, Real Types shown on the Korean fabrics are subdivided into 9 types, and the Real Type A among them, which describes to be as real as possible, is 12 kinds, the largest number of them. Therefore, real and natural pattern of peony is the favorite type in Korea, while rather emphasized pattern of peony is the more preferred pattern in China. And also Design Types are subdivided into 6 types again; There are 6 kinds of design type A, the largest part of Design Types. Patterns of Design Type A are most similar to real peony flowers, but more simplified than the Real Type A. This result also contrasted with the trend in China, where the Design Type C, expressed petals in detail was the favored pattern. Fourth, 9 kinds of unique types are found in Korean fabrics, especially Real Type M has not been shown on Chinese fabrics. Real type M, consisting of two parts, inner and outer, where two curve lines between two parts appear as antennas of a butterfly.

Using the official marker of the Korea`s national symbol to inform the world of the country`s existence to the global community in the century enhances the autonomy and the competitiveness of Korea. It is thought that selecting a motif for promoting the national identity through cultural products or costumes can prepare an opportunity for gaining competitiveness internationally. The purpose of this study is to enhance understanding on the use of a traditional Korean symbol, Mugunghwa, and how it increases the cultural value of Korea, and develops the modern Korean image. The specific contents of this study are as follow. First, searching for the scope of usage of the national flower Mugunghwa from various angles for enhancing the Korean image. Second, developing a national symbol image of modern sense that reflects trend by using Mugunghwa. Third, clarifying the application scope and role of the national symbol image using Mugunghwa, and present a specific usage plan for creating more value. As for the study method, the study is conducted through theoretical and empirical research and six pieces of work of modern Mugunghwa image are presented as the result. Based on the development of the image of Mugunghwa as a national symbol, this study proposed a role of a cultural ambassador by applying Mugunghwa to fashion products or costumes. As for the expected effect, it can provide an opportunity for developing another national symbol and a new perspective on national symbol will appear. It is thought that the cultural value of a national symbol can be understood through this study and it can provide an opportunity for developing various national symbols for enhancing the national image.

Hwangnamdaechong Tomb (The 98th tomb in Hwangnam-dong), one of the royal tombs located around the area of royal tomb of King Michu in Hwangnam-dong, Gyeongju, is currently designated as Historic Site No. 40. It is assumed that Hwangnamdaechong Tomb is a royal tomb of the early 5th century. This study aims to examine the fabric relics excavated from Hwangdamdawchong Tomb and currently housed in Gyeongju National Research Institute of Cultural Heritage. The types of fabrics excavated from Hwangdamdawchong Tomb include plain silk, warp-faced compound woven silk, and hemp cloth. Most of these fabrics are adhered to metal products that became rusty. Plain silk found in Hwangnamdaechong Tomb can be divided into four types by its weaving method. Geum excavated from Hwangnamdaechong Tomb is typical Gyeong Geum that uses colored warp for its base and pattern. It is plain Gyeong Geum that the binding weft and warp is plain woven. Although there are a lot of Gyeong Geum fabrics whose colors are hard to define due to yellowing after long years, there are still many fabrics whose color such as purple, red, blue, and green can be identified. As literatures have shown that p cloth as well as silk were frequently woven during Silla dynasty, tremendous amount of hemp cloth was excavated. Most of the hemp cloth has S-twist in the warp and 8-12 seung degree of delicacy.

This research analyzes the late Joseon`s variously developed characteristics of women`s underwear and its formative elements, and ultimately aims to apply such characteristics to designing modern outfits. The main purpose of the presented work is to give guidelines on utilizing the fashion legacy in a various way, and inheriting the traditional concept of beauty by developing it into modern fashion designs. The designing and producing of the work is based on the analysis of previous researches, genre paintings, and traditional costumes in museums. Based on this research, the application of traditional underwear design to today`s outfits involves the following points. First, the presented work features the formative outlines of traditional underwear as an inspiration for outer garments. Secondly, various traditional textiles are used such as ramie fabrics, damask silk, silk fabrics, fur, etc. for four seasons and they are turned to practical use for modern outfits. Third, colors of choice are white and low saturation colors to create an elegant and serene atmosphere. Finally, traditional sewing techniques are specifically applied to modern fashion designs. Included are: Nubim technique, Gob-sol technique, and the patching method. This work pursues the design of practical use by tying up clothes with straps and knots to prevent them from falling off.

This study considered and analyzed the influence of changed clothing silhouettes on the textile patterns by investigating the changes of geometry patterns in response to the changes of western women`s apparel silhouette in the 1960s. The period scope of research was limited to the 1960s, and the research object was set as the geometry patterns seen in the designer`s high-fashion. The researcher investigated the clothing silhouette and the textile patterns in 1960s by reviewing the literature about domestic and foreign books, research papers, domestic and foreign fashion magazines, information on the Internet. For the western women`s apparel in 1960s, some active, simple styles were popular under the social atmosphere when more women actively entered the society. Influenced by popular art trends at that time, the silhouette was expressed in the geometry pattern among many textile patterns. The geometry pattern either appeared as a regularly overall repeating geometry pattern and the regularly partial repeating geometry pattern. The regularly overall repeating geometry pattern arranged the straight lines in the same interval. But the regularly partial repeating geometry pattern was arranged without order to emphasize the motif in some parts of clothing or to give some ornament effect, or was arranged asymmetrically.

Creativity is a rising topic in the current society. The emphasis on creativity is valued as a key factor for success in all areas including but not limited to politics, economy, culture, arts and design. The field of Fashion design is probably one of the few areas that talk about creativity as a necessary quality to survive. The purpose of this study is to introduce TRIZ(Teoriya Reshniya Izobretatelsskikh Sadatch) as a theoretical tool to generate creativity in fashion design. TRIZ is a creative method of problem solving based on data analysis of outcomes invented by engineering. The fundamental concept of TRIZ has been researched through documentary studies, and practical case studies of product designs are used. Fashion design cases from Comme des Garcons by Rei Kawakubo are used to apply TRIZ in fashion design. Rei Kawakubo`s design philosophy has been studied through fashion writings and visual sources in books, exhibition catalog, www. style. com and online shopping mall sites. This study has selected four principles among forty inventive theories of TRIZ: segmentation; asymmetry; consolidation; and preliminary action to apply to Rei Kawakubo`s fashion design. As a result, TRIZ can be applicable to fashion design as a creative thinking methodology. By using the four principles of TRIZ, this study shows how Rei Kawakubo`s design enhanced its efficiency and aesthetics of the products and was distinguished from existing items. It is meaningful to demonstrate a possibility of adopting engineering based creative methodology in fashion design to widen the perspective and to raise a question for the need of interdisciplinary creative methodology with traditional aesthetic approach in fashion design.

The purpose of this study is to analyze the trench coat designs shown in the latest collection by using a checklist method among many fashion design idea methods and then investigate the trend of trench coat design in multilateral directions. As for the research method, 1,307 photos selected from the photos of women`s trench coats publicized from 2006 until 2011 were used for the analysis and then a frequency analysis was conducted. As a result, the types of checklist methods shown in trench coats included modification type, elimination type, conversion type, combination type, minimization type, addition type, and magnification type. In the modification type, the modification of color to the back side stood out; in the elimination type, the design eliminating epaulet stood out ; in the conversion type, conversion to jacket among many items stood out. In the combination type, the combination between different material texture and identical colors among colors stood out ; in the minimization type, the design minimizing sleeves stood out; in the addition type, the addition of sleeves among many details stood out ; in the magnification type, the design magnifying panels stood out.

This study explored public awareness and donning practices of traditional and religious dresses among Indonesian Muslim. The relevant literature was reviewed first, and in-depth interviews and survey were followed to achieve the purpose of the study. Sarung and Kain Panjang are the most representative unisex traditional clothing of Indonesia. Traditional male dresses include Kemeja Batik, Beskap, Peci(Kopiah) and Blangkon. Traditional female dresses include Kebaya, Baju Kurung, Baju Bodo, Kemben, Rok Batik and Slendang. Baju Koko, Sarung and Peci(Kopiah) are the most well-known Muslim male dress items. Muslim female dresses are more diverse than men`s. For traditional and religious dresses, which were identified from literature study, public awareness and donning practices were examined with survey data. Indonesian people consider Kebaya, Sarung, and Batik as the most important traditional dresses which convey national identity. Peci(Kopiah), Baju koko, and Jilbab(Kerudung) are highly mentioned as the representatives of Muslim dresses. Indonesian Muslims report that they own these representative dresses commonly. Peci and Sarung are included both in religious and traditional dresses, demonstrating that the two items are the representative crossovers of their religion and the tradition of the country. For both traditional and Muslim dresses, Indonesian people think that aesthetics and traditional values are more relevant than practical value. Lastly, it is found that traditional dresses are parts of the daily wear of Indonesian people from the fact that they wear traditional dresses more than once a week.

Jikji, Memory of the World of UNESCO, the world`s oldest extant movable metal print book, is a cultural heritage to give motivation for IT power of Korea. Although the cultural value of Jikji is understood in Korea, the value of cultural assets is not satisfactory and the commercialization is not sufficient. Furthermore, most Jikji product designs on the market are simple and limited mainly for the old generation. The purpose of this study is to design fashion-cultural products suitable for young people who will be responsible for this cultural inheritance. The methods of this study were to make the design development through literature research and a case study for Jikji products on the market. For developing the products suitable for young people, 308 university students in Chungju were surveyed. To express end products, computer graphic program, Illustrator CS5, was used. The results of this study showed that the products on the market were not targeted for use by young people. The younger generations want modern and interesting design. Among the 8 design motives that are planned for design development, the most preferred motive numbers, 3, 7, and 8, were used. Design items, such as scarf, wallet and t-shirts, were selected by the result of survey and 3 scarves, 4 wallets, 3 t-shirts, a total of 30 items were developed. The designed products in this study can inform the cultural resource of Korea and contribute to raise the cultural value if they are commercialized.

Contemporary fashion broadens its image in relation with architecture and incorporates architecture in its creative field. The aim of this research is to investigate the characteristics of `architecture for fashion` in a social context and to verify the collaborative characteristics of post-1990s fashion and architecture. This paper describes architecture as a means of expressing contemporary style and identifies social consequences resulting from this. While high fashion in the early to mid-twentieth century followed a similar trend evident in architecture to directly apply architectural elements into the creativity of the works, high fashion from 1990 extended its creative field by using architecture to symbolically represent its image and style. In line with the possibility for fashion shows to be considered as a performance art, the potential of collaboration between architecture and fashion as an installation with audience participation is discussed. Architecture, for fashion, provides significant grounds for fashion to be recognized as a parallel, independent sphere of art. Contemporary fashion, either by itself or through collaboration with architecture, comprehends space in its zone of creation. The collaborative characteristics of post-1990s fashion and architecture is verified through case studies of the three fashion houses, `Armani Group`, `PRADA` and `Comme des Garςcons.`

The purpose of this study is, as one of Jeju culture contents projects, to suggest a new method to develop the textile design using contents of Jeju Myth, Jacheongbi, in other words, to create mythic patterns by borrowing effectively from the mythic image of Jacheongbi on contemporary fashion. To achieve this, after extracting mythic contents from real animals from the myth (chicken, horse, cow and owl) of Jacheongbi, we draw the animal motifs from a mythic image basis of archetypal symbols and empirical awareness about animals and shamanistic imagination, and create mythic patterns. In order to achieve this design pattern, Adobe Photoshop CS5 Extended was used to design the animal motifs, and then they were arranged via bidirectional layout. And to conclude, development of the creative textile design using the mythic contents of Jacheongbi contribute to invigorating the fashion industry and regional culture contents projects in Jeju, and also become the basis of creating added value to it.

There are lots of sexual images in the contemporary media, and this is due to many of the media formats, such as television, magazines, and the Internet, using these images to relay various messages to the people. The media uses these sexual images (i.e. woman in a bikini) in order to use sex and eroticism as a marketing tool to the audience. Unlike other men`s magazines, which actually have many female readers, Maxim magazine`s readers are made of mostly men, and because of this, their magazine covers are usually filled with sexy women celebrities, such as singers or actors; images that can attract the general men. This study puts its focus on evaluating Maxim magazine`s marketing strategy. The strategy of targeting men in their 20`s and 30`s, who were not interested in reading, but were impulsive and visually oriented. The study looked at magazine covers from November 2002 (the start of the magazine) to October 2008 (the peak period of its sales), and a total of 72 images were analyzed. For each image, 5 things were recorded (model`s occupation, clothing style, hairstyle, makeup, pose and gaze).

The purpose of this study is to develop comfortable patient gown for spinal surgery patients. The results of the survey confirmed inconveniences and problems with the current gown, and a new gown style was recommended. The recommended changes addressed design, pattern, and materials. The final experimental design for the top of the new patient gown is a wrap style that moves the center opening of the gown to the side and enables patients to control the length of the sleeves by attaching two snaps. The cutting line is aligned with the back brace location, and the issue of repeated bunching of the gown material by the brace was solved by substituting 100% knitted structure fiber. The sleeve length can be adjusted with snaps on the sleeve cap and hem. When lifting up the gown for treatment on specific areas of the body, doctors open the edge of the right side of the gown in order to lift up the top. The bottom of the new patient gown was made from 100% cotton knitted structure fiber, and it enables patients to control the length of pants by attaching two snaps on the side. The results of an on-site dressing suitability evaluation and a flexibility evaluation with respect to dressing/undressing indicated that the new patient gown was much better received than the existing gowns (A and B). Our hypothesis regarding new patient gowns was supported in both the fit and design categories.